Sofia Gubaidulina’s Symphony Stimmen… Verstummen… An Interpretation
Симфония Софии Губайдулиной «Слышу… Умолкло…». Опыт интерпретации
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In this article I discuss Sofia Gubaidulina’s landmark twelve-movement symphony Stimmen… Verstummen… (1986), renowned for its creative employment of the Fibonacci numbers and the ‘Golden ratio’ as main constructive principles, as well as the ‘silent solo’ for the conductor. This symphony was Gubaidulina’s first substantial orchestral work, written during the period of her artistic maturity and just before her international breakthrough. The title of the symphony symbolises the importance of not only sound, but also of silence, pause. While this work is commonly interpreted with respect to its religious-mystical narrative, in accordance with the ‘clues’ that the composer herself and her biographers have provided, here I argue that Gubaidulina’s musical symbolism is neither literal nor unambiguous, and that alternative interpretations are both possible and welcome. Namely, in spite of Gubaidulina’s readiness to provide mystical ‘programmes’ for her works, the ambiguity of musical signify...ing ‘codes’ enables us to offer different interpretations, which can acknowledge Gubaidulina’s autopoetic statements, but do not have to depend on them. Thus, although Gubaidulina herself has never hinted at any of the following as being her hidden ‘programmes’, it is possible to interpret the symphony as a musical illustration of the oppression and the brutal ‘silencing’ of the voices of Soviet citizens during the decades of the communist rule. Furthermore, one could argue that the symphony depicts how religious expression was crushed in the USSR, yet managed to survive – or, else, that the composer problematised the relationship between the individual and the system in more general terms.
Кључне речи:
Sofia Gubaidulina / 20 th -century symphony / Stimmen… Verstummen… / Fibonacci numbers / golden ratio / Nicolai Berdyaev / religion / perestroika / interpretationИзвор:
Научный вестник Московской консерватории / Journal of Moscow Conservatory, 2021, 12, 3, 58-71Издавач:
- Moscow : Tchaikovsky Moscow State Conservatory
URI
https://nv.mosconsv.ru/dr/en/articles/sofia-gubaidulinas-symphony-stimmen-verstummen-interpretationhttps://dais.sanu.ac.rs/123456789/12024
Институција/група
Музиколошки институт САНУ / Institute of Musicology SASATY - JOUR AU - Medić, Ivana PY - 2021 UR - https://nv.mosconsv.ru/dr/en/articles/sofia-gubaidulinas-symphony-stimmen-verstummen-interpretation UR - https://dais.sanu.ac.rs/123456789/12024 AB - In this article I discuss Sofia Gubaidulina’s landmark twelve-movement symphony Stimmen… Verstummen… (1986), renowned for its creative employment of the Fibonacci numbers and the ‘Golden ratio’ as main constructive principles, as well as the ‘silent solo’ for the conductor. This symphony was Gubaidulina’s first substantial orchestral work, written during the period of her artistic maturity and just before her international breakthrough. The title of the symphony symbolises the importance of not only sound, but also of silence, pause. While this work is commonly interpreted with respect to its religious-mystical narrative, in accordance with the ‘clues’ that the composer herself and her biographers have provided, here I argue that Gubaidulina’s musical symbolism is neither literal nor unambiguous, and that alternative interpretations are both possible and welcome. Namely, in spite of Gubaidulina’s readiness to provide mystical ‘programmes’ for her works, the ambiguity of musical signifying ‘codes’ enables us to offer different interpretations, which can acknowledge Gubaidulina’s autopoetic statements, but do not have to depend on them. Thus, although Gubaidulina herself has never hinted at any of the following as being her hidden ‘programmes’, it is possible to interpret the symphony as a musical illustration of the oppression and the brutal ‘silencing’ of the voices of Soviet citizens during the decades of the communist rule. Furthermore, one could argue that the symphony depicts how religious expression was crushed in the USSR, yet managed to survive – or, else, that the composer problematised the relationship between the individual and the system in more general terms. PB - Moscow : Tchaikovsky Moscow State Conservatory T2 - Научный вестник Московской консерватории / Journal of Moscow Conservatory T1 - Sofia Gubaidulina’s Symphony Stimmen… Verstummen… An Interpretation T1 - Симфония Софии Губайдулиной «Слышу… Умолкло…». Опыт интерпретации SP - 58 EP - 71 VL - 12 IS - 3 UR - https://hdl.handle.net/21.15107/rcub_dais_12024 ER -
@article{ author = "Medić, Ivana", year = "2021", abstract = "In this article I discuss Sofia Gubaidulina’s landmark twelve-movement symphony Stimmen… Verstummen… (1986), renowned for its creative employment of the Fibonacci numbers and the ‘Golden ratio’ as main constructive principles, as well as the ‘silent solo’ for the conductor. This symphony was Gubaidulina’s first substantial orchestral work, written during the period of her artistic maturity and just before her international breakthrough. The title of the symphony symbolises the importance of not only sound, but also of silence, pause. While this work is commonly interpreted with respect to its religious-mystical narrative, in accordance with the ‘clues’ that the composer herself and her biographers have provided, here I argue that Gubaidulina’s musical symbolism is neither literal nor unambiguous, and that alternative interpretations are both possible and welcome. Namely, in spite of Gubaidulina’s readiness to provide mystical ‘programmes’ for her works, the ambiguity of musical signifying ‘codes’ enables us to offer different interpretations, which can acknowledge Gubaidulina’s autopoetic statements, but do not have to depend on them. Thus, although Gubaidulina herself has never hinted at any of the following as being her hidden ‘programmes’, it is possible to interpret the symphony as a musical illustration of the oppression and the brutal ‘silencing’ of the voices of Soviet citizens during the decades of the communist rule. Furthermore, one could argue that the symphony depicts how religious expression was crushed in the USSR, yet managed to survive – or, else, that the composer problematised the relationship between the individual and the system in more general terms.", publisher = "Moscow : Tchaikovsky Moscow State Conservatory", journal = "Научный вестник Московской консерватории / Journal of Moscow Conservatory", title = "Sofia Gubaidulina’s Symphony Stimmen… Verstummen… An Interpretation, Симфония Софии Губайдулиной «Слышу… Умолкло…». Опыт интерпретации", pages = "58-71", volume = "12", number = "3", url = "https://hdl.handle.net/21.15107/rcub_dais_12024" }
Medić, I.. (2021). Sofia Gubaidulina’s Symphony Stimmen… Verstummen… An Interpretation. in Научный вестник Московской консерватории / Journal of Moscow Conservatory Moscow : Tchaikovsky Moscow State Conservatory., 12(3), 58-71. https://hdl.handle.net/21.15107/rcub_dais_12024
Medić I. Sofia Gubaidulina’s Symphony Stimmen… Verstummen… An Interpretation. in Научный вестник Московской консерватории / Journal of Moscow Conservatory. 2021;12(3):58-71. https://hdl.handle.net/21.15107/rcub_dais_12024 .
Medić, Ivana, "Sofia Gubaidulina’s Symphony Stimmen… Verstummen… An Interpretation" in Научный вестник Московской консерватории / Journal of Moscow Conservatory, 12, no. 3 (2021):58-71, https://hdl.handle.net/21.15107/rcub_dais_12024 .